The Kino-Eye groups remind me of Augusto Boal’s work Theatre of the Oppressed. Both recognize the everyday lives of workers as something valuable to be shared and examined. And both attempt to deconstruct class lines. Boal’s groups play out scenarios from members’ lives and attempt to analyze and problem solve through theatre. They also work to break the barrier between audience and stage, often inviting input from the audience about scenarios played out. The Kino-Eye philosophy, from my understanding, works to break down the hierarchy of on-screen drama and off-screen life in a different way, but along similar lines. Instead of using theatre, Kino-Eye groups use the medium they are critiquing to bring about revolution. I think their use of editing is a really interesting tool for self-actualization and controlling representation. The editing process awards power to the editor to organize “the visible world” to appear and function according to their ideals (or in a way that critiques what’s happening in a focused way). Similarly, Boal’s groups ‘edit’ the real-life scenarios that they perform, re-performing them multiple times with different outcomes, as a way of taking agency in a situation in which they felt they had none.